The Crown: S2

Philip K. Dick's Electric Dreams

A sci-fi anthology series with stand-alone episodes, based on the works of Phillip K. Dick.

King Arthur: Legend of the Sword

dir Guy Ritchie

Robbed of his birthright after the murder of his father, Arthur acknowledges his true legacy after pulling a sword from a stone.

Life

dir Daniel Espinosa

Life tells the story of the six-member crew of the International Space Station that is on the cutting edge of one of the most important discoveries in human history: the first evidence of extraterrestrial life on Mars. As the crew begins to conduct research, their methods end up having unintended consequences and the life form proves more intelligent than anyone ever expected.

Assassin's Creed

dir Justin Curzel

When Callum Lynch explores the memories of his ancestor Aguilar and gains the skills of a Master Assassin, he discovers he is a descendant of the secret Assassins society.

Mars

dir Everado Gout

The year is 2033 and the first manned voyage from Earth to Mars is about to land on the red planet

The Crown

A Netflix original series, The Crown focuses on Queen Elizabeth II as a 25-year-old newlywed faced with the daunting prospect of leading the world’s most famous monarchy while forging a relationship with legendary Prime Minister, Sir Winston Churchill. The British Empire is in decline, the political world is in disarray, and a young woman takes the throne....a new era is dawning.

The vfx work on The Crown was primarily focused on creating a believable world that supports the narrative. It was exclusively invisible, photo-real work including digital set extensions, environments, crowd replication, CG aircraft and of course Buckingham Palace!

A Cure For Wellness

Director: Gore Verbinski

An ambitious young executive is sent to retrieve his company's CEO from an idyllic but mysterious "wellness center" at a remote location in the Swiss Alps. He soon suspects that the spa's miraculous treatments are not what they seem.

Miss Peregrine's Home for Peculiar Children

Director: Tim Burton

Among Miss Peregrine's charges is Hugh, whose peculiarity is that he is full of bees. We were delighted to work with Frazer and Hal to help Hugh's insect companions to crawl, fly, swarm, and even form a bee beard.

Voyage Of Time

Director: Terrence Malick

Malick continues his philosophical and poetic engagement with humanity's place in the history of the universe. In our depiction of phenomena, from the microscopic to the galactic, we shot many elements, spoke to eminent scientists, worked with stellar databases, and joined in the search for meaning.

The Revenant

Director: Alejandro Iñárritu

We were delighted to be invited to be a part of Iñárritu's gruelling epic. Not all of our experiments and explorations made it to the cut, but it was thrilling to be on the journey.

Channel 4

Director: Jonathan Glazer

The new idents for Channel 4: written and directed by Jonathan Glazer, de-constructing the iconic 4 logo. Shot with a multi-spectral camera rig, One of Us supervised and posted these four stories.

Everest

Director: Baltasar Kormákur

The story of the ill-fated 1996 expedition to climb Everest required us to turn a green screen stage into the inhospitable summit of the world’s highest mountain. Panoramic views across the Himalayas, flying snow in myriad forms, and the deadly storm which engulfs the climbers - we have conquered some of the world’s most challenging environmental work.

Jupiter Ascending

Directors: The Wachowskis

A wedding on a spaceship, a punch up in a farmhouse, a swarm of dancing bees - Jupiter Ascending offered us some unique opportunities. We delivered over 400 shots, and in many cases we were able to make a big contribution to their design: architecture, jewellery, gadgets, choreography. We loved collaborating with the Wachowskis and supervisor Dan Glass, reprising our work on Cloud Atlas.

Paddington

Director: Paul King

A young Peruvian bear travels to London in search of a home. Finding himself lost and alone at Paddington Station, he meets the kindly Brown family, who offer him a temporary haven. No bear animation, but a number of beautiful environmental interventions, including increasing the security outside the Natural History Museum.

Finding Altamira

Director: Hugh Hudson

The 19th century story of the discovery of prehistoric cave paintings in Cantabria and the frustrations of the man who found them, as seen through the fevered dreams of his daughter, in which the primitive paintings of bison come to life.

Our Kind Of Traitor

Director: Susanna White

Around 200 shots of mostly invisible visual effects help to propel this Le Carré tale from the roads of Morocco to the Arsenal football stadium, via the streets of Paris and the mountains of Bern.

Mission Impossible: Rogue Nation

Director: Christopher McQuarrie

Ethan and team take on their most impossible mission yet, eradicating the Syndicate - an International rogue organization as highly skilled as they are, committed to destroying the IMF.

Terminator Genisys

Director: Alan Taylor

After finding himself in a new time-line, Kyle Reese teams up with John Connor's mother Sarah and an aging terminator to try and stop the one thing that the future fears, "Judgement Day".

Exodus: Gods And Kings

Director: Ridley Scott

Although we were involved in the closing stages of the project, we were excited to work on Scott’s biblical epic. An example of the kind of work where we can make life easy for a production when they are bringing home hundreds of complex shots.

Under The Skin

Director: Jonathan Glazer

One Of Us was connected to this project from its inception, and is proud to finally see it reach fruition. Our work was always engaging and exciting - it required intellectual rigour like almost no other project. Glazer constantly scrutinized every idea underpinning the film, working to make a hermetic logical space, into which the audience is seduced. The visual effects work comes to a head at the film’s climax, as the beautiful alien reveals what lies under her skin.

Anna Karenina

Director: Joe Wright

It was a joy and a challenge to have our work sit alongside Seamus McGarvey’s photography and Sarah Greenwood’s designs. The story of illicit love in 19th century Russia, plays out in part in a theatre, but spills out into the real world through stage doors, or behind the scenery. Our work included the moment when Anna’s lover, Vronsky, comes a cropper on his beloved white horse.

The Selfish Giant

Director: Clio BarnardBarnard’s Bafta nominated tale of youthful crime and harness racing required only a few, light-touch visual effects shots to be sympathetically integrated. The most complex of which was the addition of a motorway bridge. The photography is as bleak and beautifully simple as the story.

Cloud Atlas

Director: The WachowskisThe Wachowskis did an amazing job translating this book-inside-a-book onto the big screen. Our work was limited to only one of the half a dozen stories, but we enjoyed the opportunity to develop a 25th century user interface.

Dom Hemingway

dir Richard Shepard

After spending 12 years in prison for keeping his mouth shut, notorious safe-cracker Dom Hemingway, played by a mutton-chopped Jude Law, is back on the streets of London looking to collect what he's owed. OOU particularly enjoyed wrecking Dom’s Roller.

Mirror Mirror

Directors: Tarsem Singh and Ben Hibon

Working with animation director Ben Hibon was a great pleasure. The detail of the design, the nuances of atmosphere, the fluid transitions from one scene to the next, and the crafting of the narrative, took us on a journey which ended with a piece we are very proud of.

Gambit

Director: Michael HoffmanColin Firth in his boxers, or Cameron Diaz in her undies, there is something for everyone in this art heist. From a visual effects perspective, the two biggest challenges were putting Firth on a third storey ledge at the Ritz, and then putting him a few feet from an aggressive lion. Not much CGI - more old school split screens and set extensions.

The Tree Of Life

Director: Terrence MalickIt’s a rare privilege to be offered the opportunity to work with a director of Malick’s stature. One Of Us also learned a great deal about early cellular life.

One Day

Director: Lone ScherfigAfter spending the night together on the night of their college graduation Dexter and Em are shown each year on the same date to see where they are in their lives. They are sometimes together, sometimes apart. Our work includes a romantic nighttime London rooftop tryst, and an encounter between a bike and a speeding lorry.

Nike Voyeur

Director: Jonathan GlazerHiring every available Red camera in North America allowed Glazer to further pursue his exploration of multi-camera photography. A single performance, captured by 50 cameras, edited without any time slippage. In addition to post, One Of Us worked extensively on previs, to establish the positions of the cameras and the rhythm of the piece.

Red Clay

Director: Jonathan Glazer

The first ever One Of Us project, but we still think it is beautiful and exciting. Originally conceived as a commercial to promote the Red charity, it has an extended life as a stand-alone piece, exhibited at London’s Haunch Of Venison gallery and elsewhere. Shot with two 40-camera arrays, and edited in both time and space (!) using custom software, the piece wavers between the abstract and the representational.

Tango

Director: Jonathan GlazerOne Of Us offered both creative and technical support to director Glazer as he continued his investigations into multi-camera shooting. In this case, two world class Argentine tango dancers and a hip hop track from Roc C.

Mondeo

dir Jason Kedgley and Dylan Kendle

We enjoyed working with Dylan and Kedge from design supremos Tomato. Shooting string, broken glass, type set on acetate, and much else, all in house, we then composited these Ford sponsored stings.

Dark Tide

Director: John Stockwell

A professional diver tutor returns to deep waters after 1 year, following an almost fatal encounter with a great white shark. The nightmare from the deep is still lurking - more carnivorous and hungry than ever.

The Invisible Woman

Director: Ralph FiennesAt the height of his career, Charles Dickens meets a younger woman who becomes his secret lover until his death.